Zweigstelle Berlin - Space for contemporary art by Stucken Art Consulting

Michel Carmantrand

Works 2012_2

Works 2012

Works 2011

"My works, in the course of time, develop themselves dialectically, in more or less big series. I stride forwards with the entity of the images and what might seem as a back and forth between progress and setbacks, is in fact a continual dialogue between the images. This critical dialogue builds itself from one to another painting, between the paintings and between the series." Michael Carmantrand

Mateo Cohen

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Works 2011

Gregor Cürten

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Works

Drawings (11 Women)

Drawings (11 Men)

"It is even just about the mechanism of the memories of the painter, when he adjusts his subjective image arsenal with every official visual world of history, to critically analyse rejections, fading and corrections and to make them, in relation to the painting, comprehensible." Dr. Ralf Hartmann, Galerie Nord / Kunstverein Tiergarten

Laurence Grave

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Works 2012

Works 2011

Works on paper

"Painting, in their fragile existence, like landscapes in the distance, are there to last forever. The time-frame of a painting is its durability. This durability exists in the quality of the room in which it is displayed. The paradox of such a closeness of the distance lies justified in my conception of the characteristics of painting." Michel Carmantrand

Karen Irmer

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Karen Irmer displays sensitive photographic works, which do not intend to portray a particular place or a specific moment. Her concern is to encourage the use of the possibilities of photography as a contemplative search to excite the hidden and test the imagination of each individual.

Ursula Oberhauser

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Drawings 2010

Drawings 2009

Objects 2008/2009

"Ursula Oberhauser is a sculptress, who exceeds the three dimensional limits of the genre in her room installations, drawings and objects. The composition and material consistency who from her chosen every-day materials gain a surprising surface, a new composition and physicality: apparent trivial industrial ready-made materials like videotape, foam insulation or wool threads achieve a remarkable life of its own as well as a new form." Birgit Szepanski

Jürgen Paas

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Jürgen Paas presents minimalist settlements as formulated by the material and colour-incorporated into an experimental organisation of the space, in which he varies film, book and photo compositions, supports, scales and presentations as synaesthetically perceived ‘metaphors of painting’.

Angela Stauber

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The painter Angela Stauber presents works that reflect the recognition of one’s own perception: she paints mirrors, reflecting surfaces or sections of reproduced images. The works can always be seen as subjective paintings, it is never about the image itself. Yet it is about searching for an element of deception, perhaps even after the enchantment of pictures.

Liliane Tomasko

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Works 2010-2012

Works 2001-2009

Works on paper

The work of Liliane Tomasko is divided into themes that involve bags; stacks; and window corner paintings. Liliane Tomasko organizes them in still-life compositions and then photographs them with a Polaroid camera. With these pictures, using simultaneously the memory of the subject, the subject is transformed into painting and that returns it to something like its original size. The process of abstraction and mystification allows this painter to use a soft painting style, that gives to the subject a kind of mystery and luminosity that was entirely absent at the outset. So the paintings, through their emotionally invested surfaces, take the motif through cheap photography, back into romantic painting, with a new beauty and original edge.

Alessia von Mallinckrodt

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Works

In her paintings and objects, which poetically catch the fragile division between town and country, nature and culture; Alessia von Mallinckrodt makes us aware of the selective nature of human memory. Her works are remainders and traces of that which has often already collectively been forgotten.

Uli Zwerenz

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Works 2005-2011

Drawings 2010

"For the viewer it will be helpful to look at a work for longer, to trace its ramifications and small sensations and to distinguish the accidental from the deliberate sets. Close-up some details act like a microscopic image of elements of nature. From a bigger distance, single archaic forms catch the eye: a ‘branch’, a ‘cross’, a ‘dark cavity’; these elements have their origin in the artists fantasy and sometimes, through the fragments you believe to recognise the outside world. But it is not about reproductions of shapes for Zwerenz and the forms remain then also preserved, if they fit within the picture as a whole." Florian Sundheimer.